November 11, 2008

September 24, 2008

This collection of vessels explores the literal layers of memory that we carry in relation to objects and wearables. The five vessels relate to five personal memories: travel, early mornings, my dad’s studio, solitude, and cooking. Though the form of the vessel has traditionally been designed to ‘contain’, in this case they can contain only memories, as the forms themselves are solid; thereby challenging the viewer to question the necessity of functionality in objects.

The pieces are designed to evoke the relationship between sensory experiences and memory. We are used to relating to artworks through visuals and touch, however we are rarely challenged to use all our senses. Upon closer inspection of these pieces, however, one finds that the forms emit fragrances….spices, oil paint, perfume, coffee…….and so, both the sense of scent and taste are evoked. Each vessel has a ‘stopper’ in the top, which when removed becomes an earring. The placement of this wearable element brings into focus the telling of stories, and sound, in relation to memory.

Though the vessels translate intimate stories, the universal relationship between the senses and memory makes the forms relevant beyond the personal, and will hopefully initiate the sharing of other’s stories.

September 4, 2008

‘Shedding’ is a collection of vessels that explore the idea that to shed light on something, to illuminate it, can be a means of adding value.

Each vessel represents an element of the experience of depression…the dark void from which light emerges. Some of the vessels are left empty; vacuous spaces that absorb any light that enters, reflecting nothing. Others contain emerging shards of light, constructed from torn pages from my journals. These paper pieces symbolise the cathartic process of writing; shedding light on my own thoughts. The shards of light shoot from the vessels, trying to break through the darkness, while the crocheted vessels represent the disintegration of darkness, as light begins to infiltrate into the shadows. Interestingly, the ‘negative’ spaces in these crocheted forms are actually areas of light, or positive space within this conceptual context.

The material qualities of the work play a vital part in the construction of this meaning. The process of smithing, in its repetitive spiral formation, is remarkably similar to that of crocheting vessels. Likewise, the shards of paper are made using a twisting technique that further emphasises the spiral formation. The making process itself is very meditative in all of these cases, and as such provided the time to ponder my own thoughts; to shed light on them.